Jeet Kune Do Stick Fighting Curriculum Ranges: How a weapon will be used is dictated by the range of the target. In Inosanto Methods we study 4 major ranges Largo-mano ( or Long Range) The range at which, without moving opponents cannot hit each other in the head or body. The main target at this point is the hands and arms. Sumbrada (Medium Range) The range where the body becomes accessible and the off hand can check, cover, or disarm. Hu-bud (Close Range) The range where opponents are too close to effect Long or Medium strikes. Attacks with the butt of the stick utilizing a back fist like motion are common, as are punches with the clenched fists, hooking of limbs and neck.(which can lead to...) Stick Grappling (Clinch, or Wrestling Range) The range when the stick is utilized to effect holds, bars and submissions. Sifu Inosanto has introduced many interesting techniques utilizing the stick in combination with silat and Machado Jui- Jitsu principles and techniques. Single Stick Techniques Lacosta family techniques 12 count single stick Meet the force Follow the force Amerra Single Stick Basics (each pattern done five times followed by low backhand, high backhand) Figure 8 Family Upwards x5 Downwards x5 Ab Lau Line: Shoulder to opposite hip, follows same line back up.x5 Boo Lon Line: Hip to opposite shoulder, follows same line back up.x5 Abanico or Fanning: Wrist stays straight, pivot at shoulder, and swing elbow back and forth. Strikes to the sides of the target, very fast. High x5, Low x5, High to Low x5, Low to High x5.(each set separated by Lbh, Hbh Basic Abecedario: 1-5 counters and follow ups Deflections from five angles of attack. #1 forehand, #2 back hand, #3 waist forehand, #4 waist Bh, #5 thrust. Disarms: Snake, Vine, Strip, Eject, Wave; or Sectors Sumbrada Drills Feed and check Disarms Hu-bud Drills Double Stick Techniques (can be done as various counts 4,6,etc.)
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Transcript
Jeet Kune Do Stick Fighting
Curriculum
Ranges: How a weapon will be used is dictated by the range of the target. In Inosanto Methods we study 4 major ranges
Largo-mano ( or Long Range) The range at which, without moving opponents cannot hit each other in the head or body.
The main target at this point is the hands and arms.
Sumbrada (Medium Range) The range where the body becomes accessible and the off hand can check, cover, or
disarm.
Hu-bud (Close Range) The range where opponents are too close to effect Long or Medium strikes. Attacks with the butt
of the stick utilizing a back fist like motion are common, as are punches with the clenched fists, hooking of limbs and
neck.(which can lead to...)
Stick Grappling (Clinch, or Wrestling Range) The range when the stick is utilized to effect holds, bars and submissions.
Sifu Inosanto has introduced many interesting techniques utilizing the stick in combination with silat and Machado Jui-
Jitsu principles and techniques.
Single Stick Techniques
Lacosta family techniques
12 count single stick
Meet the force
Follow the force
Amerra Single Stick Basics (each pattern done five times followed by low backhand, high backhand)
Figure 8 Family
Upwards x5
Downwards x5
Ab Lau Line: Shoulder to opposite hip, follows same line back up.x5
Boo Lon Line: Hip to opposite shoulder, follows same line back up.x5
Abanico or Fanning: Wrist stays straight, pivot at shoulder, and swing elbow back and forth. Strikes to the sides of the
target, very fast. High x5, Low x5, High to Low x5, Low to High x5.(each set separated by Lbh, Hbh
Basic Abecedario: 1-5 counters and follow ups
Deflections from five angles of attack. #1 forehand, #2 back hand, #3 waist forehand, #4 waist Bh, #5 thrust.
Disarms: Snake, Vine, Strip, Eject, Wave; or Sectors
Sumbrada Drills
Feed and check
Disarms
Hu-bud Drills
Double Stick Techniques (can be done as various counts 4,6,etc.)
Abecedario:A,B,C,'s All Single stick techniques can be repeated on both sides, strikes done with out chambering arms
on opposite side. (No follow thru)
Kob-Kob: Short forehand strikes torque-ing feet, hips and shoulders.
Pye-Pye: Short backhand strikes with arms crossed the body. Same torque as kob-kob.
Siniwali Techniques (weaving style: Arms can follow thru and chamber under or over each other)
heaven, standard, earth
chamber under arm and strike downwards
chamber above elbow and strike upwards at vitals
mix in roof block / shield (four ct. I,B,II)
Redondo Techniques (repeat by hitting same side)
Heaven, standard, earth
Swing behind head(longer motion)
Swing in short circle without going behind head(short motion)
Numerado
Basic Striking Angles
There are an uncountable number of styles in Phillipino stickfighting, but they all have one common denominator that
gives them adaptability. Their principles of combat are based on a pattern of angles that all attacks must fall into,
regardless of style, regardless of weapon, discounting of course the use of firearms. The pattern takes the form of
combinations of what may be recognized today as mathematical symbols. (See diagrams.)
With the addition sign (+) and the mutiplication sign (X) and dot, a pattern forms that any trusting attack, such as a jab
with the fist or a stab with a knife, or any arching attack, such as the wide swinging blow of a club, must follow. The
pattern of angles is the same whether the attacker is jabbing and swinging with a weapon or kicking and punching.
The addition sign stands for the vertical and horizontal strikes and the multiplication sign stands for the diagonal
strikes. The dot in the center of the pattern represents all thrusting or jabbing motions, as opposed to the wide swinging
blows. Though the dot only appears in the center of the pattern, representing primarily the center thrust that comes right
down the middle, trust may actually occur at any of the angles.
Within some stickfighting styles, the angles of attack are treated as the pie-shaped areas between the lines of the
mathematical symbols. Any attack, for instance, between the top vertical line of the pattern and the next diagonal line to
it is treated as one angle. Escimadors from other styles direct their attention to the lines themselves and practice their
defenses against each line that represents an angle of attack. The important thing is that you keep the defenses you will
learn flexible enough to blend either way with the attack. Even more important is that you remain flexible enough to
flow with sudden changes in angle.
The infinity sign (¥ ) that completes our drawings is the standard motion of the stick to keep the Escrimador's
movement fluid. This figure- eight motion is used in its complete form or partially. Numbering System
There are many styles of Escrima, Arnis, and Kali, and they can all be divided into northern, central, and southern
styles of the Philippines. But it is interesting to note that two students coming from, say, the Toledo style, descending
from the same man names Santiago Toledo, can be completely different in their movement approach and training
methods. Styles borrow from each other, expand and contract like the universe, but each student makes a style
workable by individualizing it for himself. Instructors remove and add their own elements to the style the teach and
students, likewise, may add things to a style that were thrown out by their instructors. So in my opinion, there are no
styles. I prefer to use the terms methods or systems of training. Style is something individualized. (Guro Dan Inosabto)
Striking Motions
Lobtik - The long arc or stemmed blow, similar to the motion of a sword slashing through something. This is a full-
powered strike that is aimed through a desired target. This method of striking does not retract or stop at the point of
impact; rather it follows its path from beginning to end. This strike does not stop until it comes to the end of its motion,
unless it is met with resistance or is blocked. A variation of this motion is the stem less blow, the shortened arc or stem
less blow that is pulled inward halfway through the swing.
Witik - The "rap" which is a blow that returns along the same path that it went out. This method of striking involves
retraction, which is useful when switching directions or angles of attack. The advantage of this strike is its speed and
uncertainty of where the next strike will come from. Faking maneuvers and multiple striking are all executed in the
witik form.
Saksak - The thrust or jab. Thrusting attacks primarily go right down the middle, but may occur at any angle. There are
two types of energy that go into a thrusting motion. The first is much like a jab with the end of the weapon. With a jab
equal emphasis is given to the striking and retracting motions. The motion of the jabbing thrust is much like that of the
witik where the retraction flows directly into the next motion.
The second kind of energy is the stab that suggests a weapon with a pointed tip such as a sword or dagger. The stabbing
thrust is a fully committed killing move, delivered as a coupe de grace. The only place it might be used otherwise is as
a body shot with a long or heavy blunted weapon.
Abaniko - The abaniko strike is a fanning motion that is made with the stick. It is a witik strike that switches angles of
attack. The abaniko can be executed horizontally, diagonally, or vertically. It is important that the body and arms move
in sync to provide the proper mechanics needed for a powerful whipping motion. Many times the abaniko is used to
fake or set-up your opponent, enabling you to pick your desired target area.
Arko - The arko is the basic Escrima twirl or circle of the stick. The stick can be twirled in an upward or downward
motion. Relax your hand but keep your fingers grasping the stick.
Bantay Kamay - Bantay Kamay is the "Alive Hand"or your empty hand. This is the hand responsible for the checking
or monitoring of your opponent's hand or the weapon itself. It is also used for disarming, striking, thrusting with a knife
and passing.
Specifics of Striking Motion
Basically, there are four striking motions that can occur in any attack. (See diagram.)
1. Lobtik - The long arc or stemmed blow.
2. Lobtik - The shortened arc or stemless blow that is pulled inward halfway through the swing.
3. Witik - The rap which is a blow which returns along the same path that it went out.
4. Saksak - The trust or jab.
A strike should take less than 2/10ths of a second.
Footwork
Escrima, and particularly Kali, use the symbol of the triangle to explain many of their combative principles. The core of
the offensive and defensive movements is the knowledge of zoning and the skills in movement through footwork.
Zoning - Zoning refers to movements made with the intention of effectively blocking or evading an opponent's strike.
There are two reference points, at the beginning and at the end of a given motion. If someone were to strike you, his
maximal force would be aimed at a specified area; for example, your face. At the points just before and just after the
desired point of impact, there is considerably less force. This is because you have to build up the force needed to
accelerate your weapon, and after the point of impact it is necessary to slow down to halt the momentum of your strike.
It can be very dangerous to attempt to block a strike at its point of full impact. It is best to either jam, meet the strike
before it has built up full force, or pass, follow the weapon and employ a check during its retraction. A third method is
to combine the two to make a meet and pass defense.
Triangle stepping - A large percentage of footwork patterns are based on the triangle. There are both forward (female)
and reverse (male) triangles. The forward triangle is generally used for defensive purposes and the reverse triangle is
generally used for offensive movements.
There are three points to a triangle: a frontal location, known as the point of the triangle, and two rear locations, known
as the base of the triangle. When fighting, one generally places his stick or strong side on the point of the triangle and
steps to either base of the triangle to initiate both offensive and defensive techniques.
Replacement Stepping - Replacement stepping is the core of the defensive movements because in Escrima one rarely
steps back or retreats, instead one employs body shifting and zoning. When defending attacks to the left side of your
body, it is better to have your right side forward, and vice verse. You can defend against an attack to your right with
your right side forward if the timing does not allow replacement stepping; however, it is stronger and much safer to
zone. This type of footwork is called replacement stepping because you are replacing the front foot with the rear foot.
Although this is also triangle stepping, the distinction is made in order to emphasize its importance.
The Concept of Distance
Distance can be defined as any distance from which your opponent can strike you with an edged, impact, or anatomical
weapon. There are three main distances. Offensive as well as defensive strategies must be understood, developed, and
mastered in each of the three ranges. The concept of distancing must be understood because there is no set numerical
distance between each range, it is determined by the height of the opponent and the length of the weapons.
Largo mano - meaning Long hand, represents the farthest distance at which you can strike or be struck by your
opponent. It is a range at which your opponent cannot strike you with his weapon, but you can strike your opponent's
hand with yours.
Medio - meaning "medium," is the distance that you and your opponent are given the opportunity to strike one another
in the head. Because of this danger, the alive hand is introduced. In other words, you can monitor your opponent's
weapon hand with your free hand.
Corto - meaning close or short, is the closest range that is encountered while standing. In this range, you are a bit too
close to execute many of the actual striking techniques, with the exception of the puno. Consequently, this is typically
when disarms occur and unarmed combat ensues.
The Alive Hand
Guro Dan Inosanto once said, "If a good Escrimador were asked to point out the singlemost important aspect that
makes his fighting work, chances are he would refer to the use of the alive hand."
Most often, the alive hand is the one that holds the opponent's weapon hand or arm in place after the defensive motion
has stopped or diverted the blow and is, therefore, a close-quarter tool. It is the transition between the fighter's
defensive motion and his counterstrike. Without the alive hand holding the opponent's hand in place, his weapon might
easily return again before the fighter has time to make his counterstrike.
During the Spanish reign in the Philippines, and in combat situations where the ancient Filipinos fought against the
Spanish in swordplay, the alive hand played an important part in confusing the Spanish swordplay. This was especially
true in the southern Philippines where they were unconquered for 366 years.
When the alive hand is not being used, it is generally kept near the center of your chest.
Defang Drill
This exercise introduces the concept of defanging the snake. You and your partner should each have a
training knife and a glove for your knife hand.
Your partner moves first by stepping in and feeding you an attack along one angle. Your mission is to cut the
incoming limb (aim for the glove) while backing away. The footwork is crucial: Don’t just stand in place and
cut. If you happen to miss with your knife and you stay planted, your opponent’s next cut will most likely
reach a vital part of your body.
Run through the exercise slowly at the beginning, then speed it up as you become comfortable. Feed your
partner different lines of attack—in some sort of order at first but then at random. The following are five basic
angles of attack you can use:
• Angle 1: Forehand slash or thrust, high (neck); angle downward,
• Angle 2: Backhand slash, high; angle downward,
• Angle 3: Forehand slash to body; horizontal (rib area),
• Angle 4: Backhand slash to body; horizontal,
• Angle 5: Straight thrust to abdomen.
Your partner should feed you all five angles, then you do the same for him.
This is not a sparring drill in which you and your partner try to attack and defend simultaneously, nor is it a
“flow” drill in which each person alternates attacking and defending. Instead, one person defends while the
other acts as a coach.
This exercise is called the largo mano drill because as the defender, you are trying to stay out in long range
where your opponent can’t reach you with his knife but you can cut his hand.
As stated above, footwork is vital. Step backward, zone to the side, change your elevation—but keep
moving. You may discover that against certain angles of attack, certain cuts work better while others get you
cut. The important thing is to find what works for you.
Cut-and-Check Drill
This exercise familiarizes you with close-range blade work. It is not a preferred method of knife fighting per
se, but it is an invaluable self-perfection exercise for sharpening your body mechanics, sensitivity and knife-
handling ability. For simplicity, refer to the above-mentioned five basic angles of attack. Your partner feeds
those five angles first, and you defend. Your checking hand should ensure that once you cut your opponent’s
weapon hand, it doesn’t come back for another swipe.
• Against angle 1: Cut the attacking arm with a forehand slash and check your partner’s knife hand with your
free hand. Release your check before your partner goes on to the next strike.
• Against angle 2: Cut the arm with a backhand strike and check the knife hand with your left hand.
• Against angle 3: Pass your partner’s knife hand to the right (across his body) as you cut the arm with an
angle 3.
• Against angle 4: Pass your partner’s knife hand to the left as you cut the arm with an angle 4. (Note that
your passing hand is also your checking hand; it should be monitoring what your partner’s weapon is doing.)
• Against angle 5: Move your body to either side out of the path of the knife as you cut the attacker’s arm
with an angle 3.
You will find that your ability to avoid being cut, while at the same time cutting and controlling your partner’s
weapon hand, can be greatly enhanced by using proper body mechanics. Twist left when you cut against an
angle 1, and twist right when you cut and deflect an angle 2. Imagine that you are performing this exercise
with razorsharp knives and think about what you would do to avoid being cut.
Knife Sparring This is a fun drill that gives you a great workout while drawing out your killer instinct. Your
objective is similar to that of the largo mano drill: Cut your opponent’s hand as he tries to cut you.
The difference is that no one is feeding strikes; you’re both going for it. If a cut to the body happens to
present itself, do it but don’t chase it. Try to stay in the relative safety of long range, making your opponent’s
hand your primary target. Footwork and timing are essential elements, so be light on your feet.
You can intensify the workout by adding calisthenics or plyometric exercises such as the jump-squat. Spar
for one three-minute round, then do 20 jump-squats and spar a few more rounds.
You will learn a lot if you spar with different people, especially those who are more experienced. A beginner
is typically the easiest opponent, since he will probably use mostly simple direct attacks. A veteran knife
fighter will attack with combinations and, therefore, be more difficult to deal with. Make sure to maintain your
distance and put together your own combinations.
Knife-Defense Drill
This is one of the best drills for learning to defend ourself with a blade because it forces you to use a training
knife to fend off multiple opponents.
The attackers are decked out in goggles, boxing gloves, elbow pads and, if desired, groin protection and
shin pads. Start with a single opponent. He moves toward you with obvious bad intentions. Try not to let him
touch you. Attack the body part that is closest to you—his arms if
he’s trying to grab you.
As soon as you get one or two good cuts, he should pull back for two to five seconds to simulate what would
happen if you actually cut him in an encounter.
After the pause, he should come in again for another attempt. Continue for one to three minutes. When you
feel comfortable with this, add another attacker. It is important that no matter how many people are opposing
you, they attack with conviction. This will trigger an adrenaline rush in you, and you should learn how to deal
with its effect on your fine motor movements.
Keep the following points in mind:
• Do not focus exclusively on your attacker. Use your peripheral vision to determine if more bad guys are
approaching. Look for a safe place to run to.
• Keep moving. Use your footwork to keep someone from sneaking up behind you. Get your back to a wall if
possible.
Do not run into the middle of two or three attackers because they will swarm on you. Keep maneuvering so
you must deal with only one at a time.
• Don’t panic. While the attack is happening, extend your awareness so you can tell where the attackers are
without turning to look.
Joy of Discovery
There is so much more to knife fighting than could ever be presented in one article. The four exercises
presented here could keep you busy for years. Remember that the purpose of edged-weapons training is
not necessarily to learn a lot of techniques with the knife. It is more about embracing the concept of
equalizing the odds. Whether or not you ultimately decide to carry a blade for selfdefense, the principles and
concepts of knife fighting will give you a tremendous edge in all areas of your life.
Stick & Blade
The Philippine fighting arts are all about efficiency. When a skilled practitioner swings a stick, he strives to eliminate
all unnecessary movement as he executes fluid offensive and defensive combinations. When he wields an edged
weapon, he endeavors to apply the same principles he learned for the stick, and if they don’t transfer directly, he’ll alter
them bit by bit until they do.
Not surprisingly, many arnis stylists believe you should practice with a stick the same way you train with a knife or
sword. Although that’s not possible 100 percent of the time, the best training tips and action principles pertain to both
facets of the art. The following nine morsels of advice fall into that category of crossover application. They’re sure to
supercharge the effectiveness of your stick and knife skills.
Keep Your Knuckles Facing Forward
When you hold a knife or sword using a standard grip, the blade faces outward from the front of your fist. Therefore,
when you’re using a stick, you should hit with the "front" of it as well. The benefits are twofold: It helps you develop
edge awareness, and it encourages you to use a grip that will transfer the force of a blow into your palm and not against
your thumb and fingers, thus reducing the chance that you’ll drop the weapon. Bad habit: In competition, practitioners
frequently execute fanning strikes with their sticks. Such techniques can be fast, but if they become habitual and you
try them with a sword, you won’t hit with the edge of the weapon. Although the resulting strike with the flat portion of
the blade can be used as a parry or a distraction before a follow-up slash, it has limited usefulness.
Don’t Grab the Stick
In most weapons-based systems, the "alive hand"—the one not holding the weapon—plays an important role. Some
practitioners even insist that skill with the alive hand is as important as skill with the weapon. As you focus on
maximizing the potential of your alive hand in combat, avoid using it to grab your opponent’s stick. Use that technique
against an opponent armed with a blade and you’ll immediately know why.
That advice also pertains to the "stick wrap" and "snake disarm." While those techniques can be effective for trapping
or disarming an opponent who has a blunt weapon, if he’s holding a real blade, all he has to do is move it around a bit
and you’ll be cut to ribbons. If you must use a wrap or snake disarm, do it on his arm. Then get a joint lock on the
entangled limb or hold it long enough to land a few strikes. The exception: When you must defend against a sword or
machete being thrust at you, it’s sometimes advisable to slap the blade. That’s because if you reach for his hand, the
point of his weapon might penetrate your body. Furthermore, if you parry the blade, you have a 50/50 chance of
slapping one of its flat sides. Even if you lose that gamble and get cut, it probably won’t be that serious unless you have
a close encounter with the point.
Don’t Always Train for a Duel
Most of the sumbrada flow drills taught in the Philippine arts are designed to build your skills and accustom you to
combative movement. To ensure that you don’t restrict your own growth, occasionally forgo the stick-vs.-stick and
hand-vs.-hand duels in favor of mixed combinations. Try using a knife against your partner’s stick. In no time you’ll
become more aware of your body and learn just how universal movements can be.
Fringe benefit: You can also apply this concept to sparring. Try using a stick to fend off your partner’s continuous knife
attacks, then ditch it and go with your empty hands. Of course, you’ll need to approach this exercise in a careful and
controlled manner, but once you do, you’ll realize how dangerous weapons truly are and that an armed opponent
should be confronted only if you have no alternative.
Go Empty Hand Against Street Weapons
Defending against weapons is one of the most important facets of the martial arts. The reason is simple: Modern laws
often prohibit good guys like you from carrying a weapon—the bad guys, of course, don’t obey the law—and even if
you do have one in your pocket, there’s no guarantee you’ll be able to access it in time.
Therefore, you should concentrate on developing your street smarts with respect to weapons defense, and the best time
to do that is during training. With only your empty hands, face off against an opponent who may or may not be armed.
Make a conscious effort to keep your eyes on his hands. If he keeps them out of view, he may be hiding a weapon and
preparing to surprise you with it. Your awareness and your empty-hand counterweapon skills are what will keep you
alive. Back up your plan with techniques for controlling and disarming an opponent.
Best philosophy: Surprise your enemy by making your defense less of a reaction and more of an ambush
Don’t Make Grappling Your Main Strategy
Because knife assaults often start at close range, you should know how to grapple with an armed adversary, but
remember that grappling with edged weapons is not like grappling in competition. If someone has a knife, once you
close the distance, it’ll be over in seconds—usually with one or both of you severely injured. Long-range goal: As you
train against knife and stick attacks, strive to maintain the distance between yourself and your opponent as you strike at
him. Aim to inflict cumulative damage. If he’s overly aggressive, however, be ready to fall back on your close-range-
combat and grappling skills. If you’re unarmed, you most likely will have to grapple. Stay out of range long enough to
distract him, then quickly close the gap. Your first goal is to control and neutralize the weapon, then the opponent.
Use the Witik and Abanico Strategically
The witik is a quick snapping motion also known as the snap cut. It’s used at long range to cause cumulative damage
and psychologically unbalance an opponent—often as a counter-cut. A snap cut to the hand done with a heavy, sharp
blade can cause serious damage. One delivered to the inside of the wrist can take the appendage out of commission.
That effectiveness comes with a price, however, for it will often leave you open to a counter.
The abanico is similar to the snap cut but uses a quick fanning motion that doesn’t always strike with the edge of the
weapon. Although it’s weaker, it offers the advantage of speed. It may not always inflict a great amount of damage, but
it can protect you while it opens your adversary for a more telling blow.
Tournament caveat: The abanico is frequently seen in competition as two martial artists stand toe-to-toe and fan each
other’s heads, but if that were attempted in combat, both fighters would be in big trouble. Remember that protective
equipment and the drive to score more often than your opponent can lead to risky tactics that would get you killed in a
real knife fight.
Train the Thrusting Lines
A popular adage in the knife world is, slashes injure while thrusts kill. It’s widely believed that 80 percent of the knife
attacks that occur on the street are slashes but most kills are effected with multiple stabs. Obviously, it behooves you to
learn how to defend against slashing motions but not at the expense of the time you devote to countering deadly thrusts.
Corroborating quote: English sword master George Silver once said the art of the sword relies on both the cut and the
thrust, but in single combat the thrusting rapier is considered king.
Use Slicing Motions
When practicing your slashes, don’t let tunnel vision make you do only full-power strokes. Although they’re fine
techniques that have their place in combat, you must also hone your drawing and slicing skills. When your weapon hits
its target, pull it back toward your body while it’s still in contact with your opponent. That will maximize the pain
inflicted by a blunt object and the depth of the cut inflicted by a blade. Plain English: Sometimes sawing through a tree
trunk is better than chopping at it.
Never Think You Can Predict Combat
Fighting is fluid and chaotic. Your opponent won’t just stand still and let you poke and slash at him. Therefore, no
matter whether you’re wielding a stick or a blade, you shouldn’t be totally confident every technique will work.
The best way to prepare yourself for all the uncertainties of fighting is to work on drills that teach principles. That way,
you’ll learn movement instead of moves. Among the most beneficial methods are flow drills, free-flow sessions,
sparring, full-contact tire and target striking, and controlled freestyle training against multiple opponents. Metaphysical
leap: You’ll learn to embrace chaos in training so you can face chaos in battle.
Outline of Inosanto LaCoste Kali
12 Areas of LaCoste Kali
1st Area
1. Single Stick
2. Single Sword
3. Single Axe
4. Single Cane
2nd Area
1. Double Stick (Double Olisi)
2. Double Sword
3. Double Axe
3rd Area
1. Stick and Dagger (Olisi-Baraw)
2. Cane and Dagger
3. Sword and Dagger
4. Sword and Shield
5. Long and Short Stick
4th Area
1. Double Dagger (Baraw-Baraw)
2. Double Short Sticks
5th Area
1. Single Dagger (Baraw-Kamot)
2. Single Short Stick
6th Area
1. Palm Stick (Olisi-Palad)
2. Double end Dagger
7th Area Pangamut, Kamot-Kamot or Empty Hands
1. Panatukan (Boxing to include use of the Elbows)
2. Panadiakan or Sikaran (Kicking to include use of Knees and Shin)
3. Dumog, Layug, or Buno (Grappling and Locking)
4. Ankab-Pagkusi (Bite and Pinch)
5. Higot-Hubud-Lubud (“Tying-untying, and blending the two”, which is a close range trapping and sensitivity
exercise)
8th Area (Long Weapons)
1. Staff (Sibat)
2. Oar (Dula)
3. Paddle (Bugsay)
4. Spear (Bangkaw)
5. Spear and Circular Shield
6. Spear and Rectangular Shield
7. Spear and Sword/Stick
8. Spear and Dagger
9. Two Handed Method (Heavy stick, Olisi Dalawang kamot)
10. Two Handed Method (Regular stick)
9th Area (Flexible Weapons)
1. Sarong (clothing worn in Southern Phillipines and Indonesia)
2. Belt or Sash
3. Whip (Latigo)
4. Rope (Lubid)
5. Chain (Cadena)
6. Scarf, headband
7. Handkerchief
8. Flail (nunchucka) Olisi Toyok
9. Tobak Toyok
10. Yo-yo
11. Stingray Tail
10th Area (Hand thrown weapons, Tapon-Tapon)
1. Spear
2. Dagger
3. Wooden Splinter
4. Spikes
5. Coins, Washers
6. Stones, Rocks
7. Sand, Mud, Dirt
8. Pepper, Powder
9. Any object that can be thrown
11th Area (Projectile Weapons)
1. Bow and Arrow (Pana)
2. Blowgun (Sumpit)
3. Slingshot (Pana Palad)
4. Lantanka (Portable Cannon)
12th Area
1. Mental, Emotional, Spiritual training
2. Healing Arts
3. Health Skills
4. Rhythm and Dance
5. History, Philosophy and Ethics
Salutation from Inosanto LaCoste kali
1. I stand before the Creator and mankind on earth.
2. I am striving for the knowledge and wisdom of the third eye, of the five senses and beyond the five senses.
3. I am striving for the love of all mankinds and there will be no needless shedding of blood.
4. I bow down to you not in submission, but in respect to you.
5. I extend the hand of friendship, because I prefer it to the hand of war.
6. But if my friendship is rejected, I am trained to be a warrior with wisdom.
7. I stand in symbolism, for I serve only the Creator, my family, and my country.
8. With my mind and heart I cherish the knowledge given to me by my instructor,
9. For it is my very life in combat.
10. I am prepared to go against you even though your skill might be greater than mine.
11. Because even if my physical body should fall before you to the earth, I am no worried.
12. For I know that my spirit will arise to the heavens, as it is unconquerable.
The Symbolism behind the Filipino Martial Arts Logo of Inosanto LaCoste Kali Blend
1. The Universal triangle
2. The circle represents the Creator: form with continuous motion.
3. The Kali triangle: love, compassion, humility
4. The stick: the core of the Filipino martial art. The first weapon taught, from which to learn all other weapons
5. The blade (points upward toward "Life"); the blade is taught after the stick
6. The fist representing the empty hand art of the Philippines
7. The half moon symbolizes the "half" of the Philippines (Southern Philippines) which were never under
Spanish rule, and also the "moonlight," which was the only time kali practitioners could safely practice their art during
Spanish rule
8. The four parts of the circle represent the four saints called upon by Kali
9. practitioners: Saint Michael, Saint Gabriel, Saint Uriel and Saint Raphael
10. Ancient "K" for kali, kaliradman
11. Ancient "E" for eskrima, estocada and estoke
12. Ancient "S" for silat
7 Ways to train Inosanto LaCoste Kali
There are seven ways to train the 12 areas of Inosanto LaCoste Kali:
1. Abecedario – One side continually feeds, the other side defends and counter acts. Analagous to throwing batting
practice. Abecedario has twelve stages.
2. Contra Sumbrada – a counter-for-counter training method. In other words, you hit me, I defend and hit you back, you
defend and hit me back, etc. Analagous to playing catch. Sumbrada has twelve stages.
3. Mixing Abeceario and Sumbrada.
4. Solo Training.
5. Hitting Objects.
6. Sparring.
7. Visualization, meditation.
These 12 “areas” are sometimes referred to as “Sub-systems” due to the fact that each sub-system can be broken down
with several individual parts and each have their own specific traits and personality.
At the Inosanto Academy they have added Muay Thai to the Sikaran to make it more complete and to adapt it’s training
methods.
Guro Dan Inosanto often uses this system because of its efficient organizational structure.
Inosanto Kali Empty Hand numbering system (Escala)
1. Jab
2. Cross
3. Left body Hook
4. Right body Hook
5. Left Uppercut
6. Right Uppercut
7. Left Tight Hook
8. Right tight Hook
9. Low Jab
10. Low cross
11. Wide left hook
12. Wide right hook
13. Left overhand
14. Right uppercut
15. Right overhand
16. Left uppercut
17. Left backhand bottom fist (#1 angle)
18. Right forehand bottom fist (#1 angle)
19. Right backhand bottom fist (#2 angle)
20. Right forehand bottom fist (#2 angle)
21. Left backhand bottom fist (overhead)
22. Right backhand bottom fist (overhead)
23. Right backhand bottom fist (overhead)
24. Left forearm bottom fist (overhead)
25. High left backhand
26. Low left backhand
27. High left backhand (spin)
28. High right backhand
29. Low right backhand
30. High right backhand
Basic Inosanto LaCoste Kali Drills
These drills will be in a simple code as follows:
I - Inward B - Backhand
H- High M- Middle L- Low
V - Vertical Hr - Horizontal D - Diagonal
Single Stick
First Drill (Downward Figure 8)
(All Diagonal Strikes Are From High To Low)
ID-BD-ID-BL(Bounce Back)-BH
Second Drill (Upward Figure 8)
(All Diagonal Strikes Are From Low To High)
ID-BD-ID-BL(Bounce Back)-BH
Third Drill
IHHr-BLHr-BHHr
Double Sticks
First drill (Heaven Six)
Start with one stick in open position and the other tucked under your arm
IH-BH-BH, IH-BH-BH
Second Drill (Standard Six)
Start with one stick in open position and the other tucked under your arm
IH-BL-BH, IH-BL-BH
Third Drill (Earth Drill)
Start with one stick in open position and the other tucked under your arm
IL-BL-BL, IL-BL-BL
Inosanto LaCoste Kali Amarra
1. Labtik-Witik
2. Witik-Labtik
3. Witik-Labtik-Witik
4. Labtik-Witik-Labtik
5. Witik-Labtik-Witik
6. Labtik-Labtik-Witik
7. Witik-Witik-Witik
8. Labtik-Witik-Witik
9. Kawayan
10. Alibangbang
11. Hangin Sa Upat
12. Entrada Sa Tatlo
13. Lawin to Abaniko Adlaw
14. Lawin to Paglipot
15. Lawin to Flourite
16. Lawin to Baho-Alto
17. Lawin to Dagat
18. Lawin to Double Flourite
Panantukan:The following is taken from the introduction of Rick Faye's Book 0n Panantukan:
A Guide to Panantukan (the Filipino Boxing Art) Panantukan, more commonly known as Filipino boxing employs all the upper body weapons to neutralise an opponent. The art, traditionally practiced without gloves, allows the practitioner to employ various parts of his body (fist, forearm,elbow) to neutralise parts of the opponents' body. This is more commonly known as limb destruction. By striking various nerve points and muscle tissue, partial paralysis occurs in the affected limb, thereby making it useless in combat. However, Panantukan also employs other weapons such as the shoulder (for ramming) and the head (for striking). Strikes are also not limited to the limbs. The ribs, spine, and the back of the neck are all valid targets in this art. Its value is proven in the many techniques that are found in Eskrima, Arnis and other weapon based styles which are derived from Panantukan, the most common being the limb destruction.
Training Basics
Shadow boxing
Shadow boxing serves many purposes to our training. It offers a chance to warm up the muscles,
get the body coordinated and the mind focused. It is a tool for self analyzation of movement. Feeling our way
through techniques repeatedly increases muscle memory and smoothes transitions from techniques and
combinations. Every technique used can be shadow boxed against an imaginary target. Creativity and
visualization are utilized and developed as we express our techniques.
Individual technique and Combinations
Partner training
Every technique and combination that is shadow boxed can be used with a partner. Although care must be
taken not to strike or injure our partners. To aid in approximating an actual target and simulate an opponent,
drills are done with a feeder and a responder. Particular responses are developed against various attacks
and counters. Having a moving partner gives us the feel and tactile reinforcement that helps develop more
realistic technique.
Focus mitt training
The same techniques and combinations used above are repeated but with the addition of focus mitts and
bag gloves we can actually have our partner hold for techniques we can hit with force. The drills with focus
mitts closely resemble the partner drills with some deviation for safety and economy of motion. This are of
training is where we can cut loose and really go at it.
Basic Attacks/Defences
Boxing hand strikes, with an emphasis on non gloved techniques: Rick Faye has described the techniques
of Panantukan as "everything that is in western boxing and everything that is illegal(not allowed) in boxing.
The art is a loosely systematic method of street fighting. I use the term "loosely" because we are not taught
regimented classes that progress with belts, katas and such. Rick teaches the individual techniques, puts
them together in drills that are designed to teach offense and defense, accounting for the free hands, and
utilizing body position manipulation for advantage and strong follow up or finishes. It is not a sport in the
western sense. Though it is said that in the Philippines they consider it more sport oriented than say, Kali
knife fighting because no one is getting cut!
hair pulling
head push/manipulation
eye gouging, ear rake or slap
Elbows, knees, foot stomp, head butts
Foot Work
Escala foot work, many variations
Emphasis on both leads, switching leads
in response to opponent, avoidance or better attacking angle
to position opponent in a causal manor-proactive-shove into advantageous position
Hu Bud (close range striking and parrying drills) trains a reflex response to stimuli of varying angles and
pressure.
with punch to catch, left and right side
switches; A. catch on inside, pull to outside (shoulder), push / thrust. partner wedges, pats and now
punches with opposite hand. B option to push / thrust: as arm extends grab and elbow break pat and punch.
(or elbow biceps, backhand, wedge, pat and punch; C catch, elbow fist, backhand, wedge, pat and hit.
with punch to parry inside, outside
wedge switch
high-low wedge switch
arm drag inside, outside
elbows feed repeating elbows each side
Gun-ting (scissoring destructions, stop hits)
Inside
Outside
Other destructions
elbow
raking elbow: Used to snap across target
jamming elbow: Combination of elbow and cover, a salute movement; attacks limbs, chest, or head
gouging
Body manipulations
Arm drag/dumag
head push/rotate
hair pulling
foot stomp/push
Defenses
Cover
Catch
Jam
Destructions in conjunction with above or intercepting (elbow, knees)
Basic Combinations (Done in both leads): Usually consist of individual techniques linked together like the
notes of a song, played in both left and right lead. Different pieces are strong together to simulate different
reactions or counters. Most techniques are shadow boxed to give a good warm up and familiarize the
movements then the same (or as similar as possible) movements are punched out on the focus mitts.
Some time ago Kaith suggested we do a "techniques" discussion similar to some karate boards. So I though I would bring it up again. Although difficult to explain the sensitivity side of things with words, we can still go over the basic techniques so people can experiment and find it for themselves. I'll start with the palisut flow drill with variations. This is the way I was taught the drill and we expanded on it (doesn't mean its right)!Person A = hammer grip, Person B=icepick grip1. A attacks with a #1 angle attack (high angled attack to your left side)2. B defends by scooping the knife over B's arm and passing it to the right (counter clockwise)3. once B gets to 6 oclock the live hand checks A's knife hand to deliver a lowline thrust.4. A checks the attack with the live hand then delivers a #7 thrust 5. B parrys with knife hand then grabs with live hand(if hand is trapped you can do the hubad left right left)6. A releases grab with live hand7. Drill starts over.Some Notes on #5: Through experimentation we are playing with B attacking right away with a #1 after the grab (this will feel exactly like hubad). Then A is forced to pass B's hand down onto Bs live hand which will release Bs grab (or get cut). If A grabbed B, B has to release before beginning the flow over. Try it, you'll like it.